SELECTED,  EDITED  & ARRANGED 

BY 


PRICE  75  CENTS 


Schmidt’s  Educational  Series. 


PIANOFORTE  STUDIES. 


Vol.  AILBOUT,  HANS. 

67.  Op.  315.  20  Progressive  Velocity  Studies 0.75 

BACH,  J.  S. 

24.  15  Two-Voice  Inventions.  Edited  by  Arthur  Foote  0.75 

BIEHL,  ALBERT. 

66.  Op.  139.  Preparatory  School  o!  Technic.  12  Etudes  0.75 

91.  Op.  140.  10  Octave  Studies 0.75 

29.  Op.  153.  12  Melodious  Studies  for  the  development 

of  the  left  hand  . 0.75 

39.  Op.  166.  12  Melodious  Arpeggio  Studies 0.76 

9.  16  Selected  Etudes  for  the  development  of  technic 

and  expression. 0.75 

DENNEE,  CHARLES. 

37.  Progressive  Studies  in  Octave  Playing  (with  special 

preparatory  exercises) 1.00 

EGGELING,  GEORG. 

75.  Op.  90.  18  Melodious  Octave  Studies  of  Medium 

Difficulty 1.00 

16a-b.  Op.  170.  25  Etudes  (without  octaves)  for  technical 

and  musical  development.  2 Books  each  0.75 
60a-b.  Op.  176.  Pleasure  and  Progress.  35  Descriptive 

Etudes  for  the  earlier  grades.  2 Books  ea.  0.75 

FOOTE,  ARTHUR. 

2.  Op.  27.  9 Etudes  for  musical  and  technical  deve- 
lopment   1.00 

73.  Op.  52.  20  Preludes  in  the  form  of  short  technical 

Studies 1.00 

74.  Etude  Album.  A Collection  of  Etudes,  selected 

and  arranged  in  progressive  order  ...  1.00 

FR1ML,  RUDOLF. 

68a-b.  Op.  75.  Etudes  Poetiques.  2 Books each  0.76 

GURLITT,  CORNELIUS. 

41.  Op.  186.  Velocity  Studies  for  Beginners  .....  0.75 

31.  Op.  187.  68  Very  first  Studies 0.75 

51.  Op!  198.  16  Studies  in  Melpdy  and  Rhythm  . . .0.75 

52.  Op.  199.  16  Melodious  Studies  for  more  advanced 

players  (A  Sequel  to  “Studies  in  Melody 
and  Rhythm”  Op.  198) 0.75 

HELLER,  STEPHEN. 

78a-b.  A Compendium  of  HELLER’S  Pianoforte  Studies. 

Revised,  Edited  and  Arranged  in  Pro- 
gressive Order  hy  ARTHUR  FOOTE. 

2 Books each  0.75 


Vol.  HOFMANN,  RICHARD. 

40.  10  Melodious  Etudes  from  Op.  72 0.75 

KAISER,  ALFRED. 

25,  The  Weaker  Fingers.  Exercises  and  tuneful  pieces  0.75 

KRAUSE,  EMIL. 

26.  Op.  99.  12  Technical  Studies  for  the  equal  deve- 

lopment of  both  hands 0.75 

LYNES,  FRANK. 

8.  Op.  20.  10  Special  Studies 0.75 

92.  Op.  21.  8 Studies  for  the  development  of  the  3rd, 

4*k>  and  5^  fingers  ..........  0.75 

MAC  DOWELL,  EDWARD. 

4.  Op.  39.  12  Studies  for  the  development  of  technic 

and  style  1.50 

MAYLATH,  H. 

55.  Op.  163.  Melodious  Etudes.  Edited  hy  Charles 

Denude  0.75 

MEYER,  FERDINAND. 

70.  The  Pupil’s  First  Etude  Album.  53  Easiest  Etudes  0.75 

71.  The  Pupil’s  Second  Etude  Album.  34  Easy  Etudes  0.75 

NEUPERT,  EDMUND. 

61.  10  Selected  Studies  for  the  development  of  Expression  • 
and  technic.  Arranged  and  edited  by 
Charles  Denn6e 1.00 

PFITZNER,  HEINRICH. 

13.  Systematic  training  for  Polyphonic  Playing.  . . .0.75 

SARTORIO,  ARNOLDO. 

21.  Op. 214.  14  Melodious  Etudes  (without  octaves)  . 0.75 

SCHYTTfc,  LUDVIG. 

7.  10  Melodious  Etudes  from  Op.  66 0.75 

TAPPER,  THOMAS. 

12.  Sight  Reading  and  Memory  Lessons  0.75 

TURNER,  A.  D. 

86.  15  Short  Melodious  Studies  from  Op.  30.  (Selected 

and  Edited  by  F.  Addison  Porter)  . . .0.75 

87.  Special  Studies  for  the  Pianoforte.  (Selected,  Re- 

vised and  Edited  by  F.  Addison  Porter) . 0.75 

WILM,  NICOLAI  VON. 

77.  Phrasing  and  Agility.  12  Etudes 0.75 


<5 — 5> 


ARTHUR  P.  SCHMIDT 

BOSTON  LEIPZIG  NEW  YORK 

120  Boylston  Street  11  West  36th  Street. 


PREFACE 


There  is  nothing  more  useful  for  getting  independence 
in  both  hands  and  fingers  than  music  written  in  two  or 
more  real  voice  parts;  and  in  it  we  also  make  a begin- 
ning in  polyphonic  playing.  Unless  having  a reasonably 
good  training  in  the  latter,  a piano  player  is  unable  to 
master  the  difficulties  of  most  of  the  music  that  is  best 
worth  while. 

In  this  collection  there  have  been  selected  examples 
in  two-voice  writing  from  many  different  composers;  some 
of  the  pieces  have  been  shortened,  and  in  a few  cases  frag- 
ments only  have  been  taken,  this  being  indicated  bya  ^ 
at  the  beginning. 


A.  F. 


3 


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TWO-PART  STUDIES 


for 

INDEPENDENT  PART-PLAYING 


Selected,  Edited  and  Arranged 

by  ARTHUR  FOOTE 


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Cb«  Pupil’s  first  6tud«  Hlbum 


fifty -three  etudes. 


1.  Same  Notes  in  Two  Hands . C.  Ourlitt 

2.  Different  Notes  in  Two  Hands A.  Sartorio 

3.  The  Dot Arthur  Dana 

4.  Two  Melodies  at  the  Same  Time  ...  . Ferd.  Meyer 

5.  The  Tie Arthur  Dana 

6.  Swinging  Rhythm F.  N.  Shacklfey 

7.  Mixed  Rhythm F.  N.  Shacktey 

8.  Five-Finger  Study Fmil  Krause 

9.  First  Scale  Study Frank  Lynes 

10.  Melodious  Study C.  Ourlitt 

11.  Second  Scale  Study F.  Le  Couppey 

12.  Arpeggio  Study  in  O Czerny  - Faelten 

13.  Study  in  Lightness  and  Grace A.  Sartorio 

14.  Melody  Playing A.  Croisez 

15.  Quiet  Hand  Study A.  Sartorio 

16.  Etude  for  keeping  the  Hand  in  Proper 

Position Frank  Lynes 

17.  Study  in  Arpeggio  Connection R.  Hofmann 

18.  Two-part  Study  in  the  Classic  Style  . . . Bach-Faelten 

19.  Velocity  Study C.  Gurlitt 

20.  Playing  Two  Parts  with  the  Same  Hand  . A.  Croisez 

21.  Use  of  the  Triplet J.  Concone 

22.  Repeated  Notes A.  Croisez 

23.  Trill  Study  in  Right  Hand F.  Spindler 

24.  Trill  Study  in  Left  Hand A.  Biehl 

25.  Arpeggio  Study  in  C Kohler-Faelten 

26.  The  Turn H.  Maylath 


27.  Study  in  Speed  and  Clearness 

28.  Grace  Notes 

29.  Broken  Chords 

30.  Scale  Study  for  the  Left  Hand 

31.  Wrist  Movement 

32.  Syncopation  Study 

33.  Weak  Finger  Study 

34.  Hand  Contraction 

35.  Hand  Expansion  

36.  Wrist  Exercise 

37.  Cross  Hand  Study 

38.  Melody  and  Accompaniment  in  the  Same 

Hand 

39.  Staccato  Chords 

40.  Rhythmical  Precision 

41.  Finger  Substitution 

42.  Delicate  Phrasing 

43.  Contrast  of  Legato  and  Staccato 

44.  Broken  Octaves 

45.  Staccato  Etude 

46.  Study  in  Broken  Thirds 

47.  Velocity  Study 

48.  Octave  Study 

49.  Study  in  Thirds 

50.  Grand  Arpeggios 

51.  Study  in  Style 

52.  Study  in  Expression 


C.  Gurlitt 
F.  Le  Couppey 
A.  Biehl 
Emil  Krause 
Charles  Mayer 
J.  Concone 
A.  Biehl 
Frank  Lynes 
H.  Maylath 
Chas.  P.  Scott 
F.  Le  Couppey 

Arthur  Foote 
C.  Stamaty 
J.  Concone 
J.  Concone 
Charles  Mayer 
H.  Maylath 
Chas.  P.  Scott 
F.  Spindler 
F.  Le  Couppey 
C.  Gurlitt 
W.  A.  Mozart 
A.  Ehmant 
H.  Maylath 
L.  Schytte 
TempletonStrong 


53.  Scales  and  Chords  in  all  the  Major  and  Minor  Keys. 


Cbe  pupil's  Second  6tude  Hlbum 

Cbirty-four  6tudes. 


1.  Melody  and  Scales -Georg  Eggeling 

2.  Broken  Chords Stepan  Esipoff 

3.  Arpeggios Max  Franke 

Dotted  Rhythm Hans  Harthan 

Trills Frank  Lynes 

Thirds Max  Franke 

Equality  in  both  Hands Bach-Faelten 

Lightness  of  Touch H.  N.  Redman 

9.  Arpeggios Edmund  Parlow 

10.  Finger  Staccato Frank  Lynes 

11.  Wrist  Staccato A.  D.  Turner 

12.  Sixths Bernhard  Wolff 

13.  Speed  and  Clearness Jos.  Chwatal 

14.  Pedal  Study  . Heller-Foote 

15.  Expression Stepan  Esipoff 

16.  Facility Chas.  Mayer 

17.  Two  notes  against  Three Chas.  P.  Scott 


18.  Trills C.  Gurlitt 

19.  Octaves  in  both  Hands Anton  Strelezki 

20.  Unusual  Rhythms Arthur  Foote 

21.  Wrist  Movement J.  H.  Hahn 

22.  Independence  of  the  Hands A.  Chauvet 

23.  Pedal  Study Czemy-Faelten 

24.  Study  in  Black  Keys Hans  Harthan 

25.  Equality  of  Tone H.  Ravina 

26.  Left  Hand  alone Bernhard  Wolff 

27.  Right  Hand  alone Arthur  Foote 

28.  Arpeggiated  Chords Chas.  P.  Scott 

29.  Octave  Study Georg  Eggeling 

30.  Double  Notes Edmund  Neupert 

31.  Arpeggios Fritz  Spindler 

32.  Sixths C.  Gurlitt 

33.  Phrasing • . . Ludvig  Schytt6 

34.  Wrist  and  Arm F.  Kalkbrenner 


Selected  and  arranged  In  progressive  order  by 

ferdinand  flleyer 


Price,  75  Cents  each* 


mr  . 4 ^ 4 , 4 A Boston,  120  Boylstcn  Street. 

Hrtbur  p.  Schmidt,  , 

7 Dew  Toi’hj  H Meet  36®  Street. 


TECHNIC  AND  MELODY 

A Fundamental  Course  for  the  Pianoforte 

by  CORNELIUS  GURLITT 

Three  Books  Op.  228  Each  75  Cents 

Practical  simple  and  essentially  musical. 

The  grading  of  the  material  is  so  arranged  that  there  is  no  break  in 
its  easy  continuity. 

All  necessary  assistance  in  the  principles  of  music  are  given  in  the  text. 
No  single  essential  feature  of  the  fundamentals  of  pianoforte  playing 
is  Wanting  in  its  pages. 

The  compositions  for  two  and  for  four  hands  are  thoroughly  prepared 
for  in  the  Technical  Studies. 

An  abundance  of  text  makes  the  application  of  the  material  simple 
and  full  of  interest. 

Lists  of  supplementary  pieces,  carefully  graded,  are  given  in  each  book. 
This  Course  is  being  used  with  unfailing  success  by  thousands  of 
teachers  and  students. 

The  last  and  ripest  work  of  the  author. 

Sent  free:  “How  to  use  Technic  and  Melody” 

An  interesting  and  instructive  booklet  for  all  piano  teachers,  containing 
the  author’s  direct  intentions  for  using  the  three  volumes  of  “TECHNIC 
AND  MELODY”  and  general  useful  hints  on  pianoforte  instruction.  It  is 
supplemented  with  lists  of  graded  teaching  pieces,  especially  selected  for 
use  with  this  or  any  other  method. 


: : PIANOFORTE  STUDIES 


Key  Circle  Exercises 

for  the  Pianoforte 

by 

Frank  Lynes 

Three  Books  ::::::  Each  75  Cents 

To  the  teacher  who  desires  material  which  is  so  constructed  that  it 
serves  more  than  a single  purpose,  “KEY  CIRCLE  EXERCISES,”  for  the 
piano,  will  be  found  especially  valuable.  While  contributing  to  the  teach- 
ing repertoire  a distinctly  useful  group  of  technical  studies,  this  work  is 
also  of  value  in  affording  indispensable  practice  in  MEMORY  TRAINING, 
SIGHT  READING,  TRANSPOSITION,  PRINCIPLES  OF  MODULATION, 
PROGRESSION  AND  RESOLUTION  OF  HARMONIC  COMBINATIONS. 

The  books  contain  a comprehensive  course  of  study  in  scale  playing, 
chords,  arpeggios  and  broken  chords,  double  notes,  and  various  touches, 
trill,  hand  expansion,  part-playing  (including  the  scales  in  canon  form,  etc.). 

Send  for  descriptive  Circular 


BY  GEORGE  EGGELING  : : 


Eighteen  Melodious  Octave  Studies 

Of  Medium  Difficulty  Op.  90  ::  Price  S 1.00 

These  studies,  of  medium  grade  difficulty,  serve  admirably  as  prepa- 
ration for  the  more  advanced  octave  studies  of  KULLAK  and  others. 

While  especially  designed  for  octave  practice,  the  musical  character 
of  these  studies  gives  them  additional  value,  particularly  to  the  pupil  who 
needs  not  only  technical  training,  but  opportunity  for  study  in  the  art 
of  interpretation. 

Hence,  expression,  pedal,  broad  phrasing,  and  the  application  of  the 
octave  equally  to  right  and  left  hands,  gives  this  collection  of  studies 
particular  value. 

The  eighteen  studies  are.  not  cast  in  one  mold,  but  offer  a fine  variety 
of  “pieces”.  They  appeal  to  the  musical  sense,  and  consequently  develop 
it,  while  the  technical  training  is  going  forward. 

Fifty  Melodious  Etudes  in  all  the  Major  & Minor  Keys 
Two  Books  ::  Op.  122  ::  Each  75  Cents 

Several  qualities  recommend  these  Etudes.  First,  they  grade  naturally 
from  a very  simple  two-part  study  in  C major  to  a point  where  a variety 
of  rhythmic  groups  and  simple  arpeggios  contribute  to  produce  very  ori- 
ginal and  musical  pieces  which  are  no  longer  than  two  printed  pages. 

Each  of  these  Etudes  has  a distinct  purpose.  To  mention  a few  in 
order  will  show  the  character  of  the  collection  as  a whole.  They  are: 
MELODY  STUDIES,  SIMPLE  CHORD  STUDIES,  BROKEN  SCALE  GROUPS, 
BROKEN  CHORDS  ALTERNATING  BETWEEN  THE  HANDS,  INNER 
VOICE  MELODY,  SPECIFIC  RHYTHM,  EAST  WRIST  STUDIES,  THE 
SCALE  AS  A WHOLE,  DOUBLE  NOTES  AND  SYNCOPATIONS,  and  Type 
forms  like  the  WALTZ,  MAZURKA,  and  MARCH. 

Every  one  of  these  is  taken  up  as  a fundamental  MUSICAL  problem 
and  the  treatment  is  from  the  MUSICAL  side.  While  chords  are  freely 
employed,  the  octave  is  very  sparingly  used. 

These  Etudes  will  be  welcomed  by  teachers  who  are  looking  for  mu- 
sical pieces  in  which  an  essential  problem  is  so  presented  that  the  student 
will  gain  the  good  of  the  problem  while  enjoying  the  attractive  melodic 
and  harmonic  qualities  of  the  composition  in  which  it  is  incorporated. 

Book  I contains  Etudes  in  not  more  than  three  sharps  or  three  flats. 

Book  II  contains  Etudes  in  all  the  remaining  major  and  minor  keys. 

Twenty- Five  Etudes  (without  octaves) 
for  Technical  and  Musical  Development 
Two  Books  ::  Op.  170  ::  Each  75  Cents. 

(Schmidt’s  Educational  Series  No.  16a-b) 

The  studies  of  this  Opus  are  intended  for  introducing  the  pupil  to  and 
affording  practice  in  third  grade  work.  They  are  somewhat  more  am- 
bitious in  design  and  difficulty  than  those  of  Op.  122.  While  octaves  do 
not  appear,  there  is  a free  use  of  short  chords  and  of  varied  rhythms 
that  constitute  many  original  short  pieces.  Each  study  aims  at  a specific 
purpose,  some  of  the  problems  presented  being  the  following: 

Studies  in  RHYTHM  AND  PHRASING,  TRILL  STUDIES  (No.  14  is  a 
fine  example),  MELODY  STUDIES,  FOUR  NOTES  AGAINST  THREE,  THE 
TURN,  INNER  VOICE  MELODY,  CHORD  STUDIES  (with  application  to 
both  hands  equally)  STUDY  OF  DOUBLE  THIRDS  (equally  for  both  hands), 
WRIST  STUDIES,  THE  APPOGIATURA,  STUDY  OF  PEDAL  EFFECT, 
and  VELOCITY  PASSAGES. 

Before  beginning  this  Opus,  the  student  should  possess  some  freedom 
and  independence  in  the  simpler  problems  of  the  items  specified  above 
(which  simpler  presentation  is  afforded  by  Op.  122). 


Op.  176.  PLEASURE  AND  PROGRESS 
35  Descriptive  Etudes  for  the  Earlier  Grades 

(Schmidt’s  Educational  Series  No.  60a-b) 

Book  I ::  Book  II  ::  Each  75  Cents 

In  the  attractive  little  Etudes  comprising  this  Opus  the  composer  has 
successfully  applied  many  technical  features  in  the  form  of  short  descrip- 
tive pieces,  each  bearing  a suitable  title  and  skilfully  contrasted.  Note- 
worthy features  of  this  collection  are  the  strongly  marked  rhythms  em- 
ployed and  the  careful  attention  throughout  to  the  equal  development  of 
both  hands.  Fingering,  phrasing  and  all  details  necessary  for  enhancing 
the  value  of  this  work  to  teachers  have  been  most  carefully  added.  At- 
tention has  also  been  given  to  variety  of  keys  and  time  signatures.  The 
following  description  of  the  various  numbers  will  show  the  scope  and 
character  of  these  studies.  They  are  progressively  arranged  and  cover  the 
intermediate  first  and  second  grades. 

At  the  Brook  (Finger  Equality  in  both  hands).  The  Spinning  Wheel 
(Legato  playing-triplets),  Dress  Parade  March  (Scale  passages  for  L.  H- 
rhythm),  Echoes  from  Capri,  Tarantelle  (Velocity),  At  the  Spring  (Ac- 
cent, etc.),  Birds  in  the  trees  (Trills),  Playing  Tag  (Legato  and  Staccato), 
The  Shepherd’s  Song  (Broken  Chords),  Rippling  Waves  (Melody),  The 
Chase  (Contrast  of  forte  and  piano),  Folk  Song  (Melody  and  detached 
chords),  Berceuse  (Sustained  Melody),  Forest  Sounds  (Crossing  the  hands), 
Elfin  Dance  (Staccato).  


SEVEN  ETUDES 

for 

the  Development  of  the  Hands  in  Extended  Positions 

Op.  172  ::  Price  75  Cents 

This  set  of  Etudes  has  a specific  purpose;  “The  Development  of  the 
Hands  in  Extended  Positions”.  These  Studies  are  applicable  only  in 
advanced  work  — and  well  repay  the  study  necessary  to  perform  them 
artistically. 

The  following  description  of  each  Etude  will  show  the  extent  of  the 
application  of  the  “Extended  Position”  principle. 

No.  l.  MELODY.  Long,  sustained  chords,  in  both  hands  as  accom- 
paniment. 

No.  2.  INNER  VOICE  MELODY,  with  extended  chords  in  the  left 
hand  and  triplet  accompaniment  above  the  melody  for  the  right  hand. 
This  Etude  is  six  pages  in  length  and  makes  an  excellent  recital  number. 

No.  3.  BROKEN  CHORDS  (arpeggiated)  in  the  left  hand  with 
brbadly  sustained  melody  in  chords  in  the  right  band.  Secondary,  or 
subsidiary  melody  in  the  accompaniment. 

No.  4.  MELODY  STUDY  (Melody  in  Soprano,  and  later  in  an  inner 
voice).  Accompanying  figures  as  extended  broken  chords. 

No.  5.  IN  MARCH  RHYTHM.  Strong  and  well-sustained  theme.  Oc- 
taves are  freely  employed  and  some  measures  of  echo-like  grace  notes 
are  used  as  embellishment. 

No.  6.  INNER  VOICE  MELODY  with  extended  broken  chords  in 
the  right  hand.  A most  excellent  melody  study  for  the  left  hand. 

No.  7.  MELODY  DIVIDED  BETWEEN  THE  HANDS  The  ex- 
tended positions  are  confined  chiefly  to  the  left  hand.  An  excellent  re- 
cital number. 

Besides  the  specific  purpose  to  which  each  of  these  studies  is  devoted, 
all  are  most  excellently  adapted  to  the  general  study  of  the  pedal. 

Phrasing  is  clearly  indicated  and  sufficient  pedal  marks  and  finger- 
ings are  given  to  insure  an  artistic  performance. 


BOSTON  120  Boylston  Street 
LEIPZIG  ::  Lindenstrasse  16 

NEW  YORK  ::  11  West  36tH  Street 


ARTHUR  P.  SCHMIDT, 


FIRST  YEAR  HARMONY 

(100  FIRST  LESSONS) 

By  THOMAS  TAPPER 

Price  $ 1.00 

A simple  presentation  of  the  fundamental  principles  of  Harmony.  It  is  especially  designed  for  self  study  as  well 
as  for  use  in  classes.  It  provides  one  year’s  work  and  gives  distinct  training  in  Tone -perception,  Ear  training, 
Harmonizing  a bass,  Harmonizing  a melody  and  Melodic  Composition. 


THE  ELEMENTS  OF  HARMONY 

By  STEPHEN  A.  EMERY 

Price  $ 1.00 

Used  by  leading  teachers  and  conservatories  throughout  the  country. 

A KEY  TO  “ELEMENTS  OF  HARMONY”  By  FRANK  LYNES 

Price  60  Cents 

SUPPLEMENTARY  EXERCISES  TO  “ELEMENTS  OF  HARMONY” 

Price  50  Cents 

Exercises,  chants  and  chorals  appropriately  figured,  which  may  be  used  as  a sequence  to  any  harmonic  treatise. 

MODERN  HARMONY 

IN  ITS  THEORY  AND  PRACTICE 
By  ARTHUR  FOOTE  and  WALTER  R.  SPALDING 

Price  $ 1.50 

A KEY  TO  THE  501  EXERCISES  IN  “MODERN  HARMONY” 

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TONAL  COUNTERPOINT 

STUDIES  IN  PART-WRITING 
By  WALTER  R.  SPALDING 

Professor  of  Music  in  Harvard  University 

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PRIMER  OF  MUSICAL  FORMS 

A Systematic  view  of  the  typical  forms  of  modern  music. 

By  W.  S.  B.  MATTHEWS 

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SOME  PRACTICAL  THINGS  IN  PIANO  PLAYING 

By  ARTHUR  FOOTE 

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ARTHUR  P.  SCHMIDT 

BOSTON  LEIPZIG  NEW  YORK 

120  Boylston  Street  Lindenstrasse  16  11  West  36th  Street 


Schmidt’s  Educational  Series. 


Pianoforte  Collections. 


Voi.  BOHM,  Carl. 

30.  Op.  368.  Lyric  Suite.  6 Compositions 0.75 

49.  Musical  Echoes.  10  Instructive  and  melodious  Com- 

positions   0.75 

FRIML,  RUDOLF. 

3.  Op.  35.  Suite  mignonne.  6 Compositions 0.75 

OURLITT,  CORNELIUS. 

93.  Op.  172.  Miniatures 

50.  Op.  197.  Fireside  Fancies.  12  Little  Tone  Pictures 

on  Five  Notes 0.60 

11.  Musical  Sketch  Book.  15  Selected  Compositions  . 0.75 

hAndel,  g.  f. 

64.  Instructive  Pieces.  Adapted  by  Carl  Faelten. 

2 Books each  0.75 

HEINS,  CARL. 

15.  Op.  270.  Six  Fancies ; 0.75 

HENNING,  MAX. 

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KAISER,  ALFRED. 

57.  Arlequinade.  Suite  of  8 Compositions 0.75 

KRENTZLIN,  R. 

59.  Op.  19.  Village  Scenes.  6 Characteristic  Pieces  . 0.76 

LACK,  THEODORE. 

47.  Morceaux  po6tiques.  8 Selected  Compositions  . .1.00 

LYNES,  FRANK. 

53.  Op.  14.  Bagatelles.  10  Melodious  Sketches . . . .0.75 


Vol. 

19. 


76. 

89. 


43a-b. 

44a-b. 

45a-b. 


27. 


48. 

7. 


90. 

38a-b. 

63. 

88. 


LYNES,  FRANK. 

Op.  47.  A Pleasant  Beginning  and  other  tunes  for 

little  fingers  in  all  the  major  and  minor  keys  0.75 

MEYER,  FERDINAND. 

Christmas  Suite 0.75 

MOSZKOWSKI,  M. 

Op.  89.  Musical  Impressions 1.00 

THE  PUPIL’S  LIBRARY. 

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Third  Series.  2 Books each  0.60 


RITTER,  G.  P. 

First  Amusements.  12  Pieces  on  five  Notes 


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SCHYTTE,  LUDVIG. 

Instructive  Recreations.  8 Selected  Compositions  . 0.75 
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SGAMBATI,  G. 

Introduction  and  Etude  brillante  (Reveil  des  Fees) 

by  E.  Prudent 0.60 

SMITH,  WARREN  STOREY. 

Effort  and  Pastime.  24  Melodious  Pieces  in  all 

keys.  2 Books each  0.60 

TORJUSSEN,  TRYGVE. 

Op.  3.  Norwegian  Suite.  6 Compositions  . . . .0.75 

WOLF,  OSKAR. 

Op.  7.  Six  Aphorisms  for  the  Pianoforte 0.75 


Pianoforte  Duets. 


BODENHOFF,  HAROLD. 

94.  Op.  7.  Bagatelles 


DENNEE,  CHARLES. 

6.  Op.  18.  The  Children’s  Festival.  10  Easy  Duets  . 0.76 

FOOTE,  ARTHUR. 

20.  12  Duets  on  Five  Notes 0.76 


GURLITT,  CORNELIUS. 

35a-b.  Op.  178.  Tender  Blossoms.  20  Melodious  Duets. 

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KRONKE,  EMIL. 

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THE  PUPIL’S  DUET  ALBUM. 

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ARTHUR  P.  SCHMIDT 


BOSTON 

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